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Post by queenofthehours on Nov 22, 2015 13:28:34 GMT
A Nod is as Good as a Wink…to a Blind Horse - The Faces (1971)
Tracks - Side One 1. "Miss Judy's Farm" (Rod Stewart, Ronnie Wood) 2. "You're So Rude" (Ronnie Lane, Ian McLagan) 3. "Love Lives Here" (Lane, Stewart, Wood) 4. "Last Orders Please" (Lane) 5. "Stay with Me" (Stewart, Wood) Side Two 1. "Debris" (Lane) 2. "Memphis, Tennessee" (Berry) 3. "Too Bad" (Stewart, Wood) 4. "That's All You Need" (Stewart, Wood)
A Nod is as Good as a Wink…to a Blind Horse is the third album by the Faces and reached #2 in the UK. The Faces were formed in 1969 by the remaining members of the Small Faces after their lead singer/guitarist Steve Marriott left to form Humble Pie. The remaining Small Faces – Ian McLagan (keyboards), Ronnie Lane (bass) and Kenney Jones (drums and percussion) – were joined by Ronnie Wood (guitar) and Rod Stewart (lead vocals) and renamed themselves the Faces. With the addition of Wood and Stewart the “small” part of the original band name was dropped (the members were all been below 5’6” in height) because the newcomers were 5’9” and 5’10” respectively.
Prior to any Faces releases Wood and McLagan appeared on Stewart’s first solo album An Old Raincoat Won’t Ever Let You Down (1969). All members of the Faces subsequently appeared on Stewart’s next three albums also. As Stewart’s solo career became more successful than that of the group, the band became overshadowed by their lead singer. Disillusioned, Ronnie Lane left the band in 1973. The band split in 1975.
Post-Faces, Ronnie Wood joined the Rolling Stones (who Ian McLagan also collaborated with), Kenney Jones joined the Who and Ronnie Lane formed Slim Chance before being diagnosed with multiple sclerosis. He died in 1997. Ian McLagan died in 2014.
--- I chose this album for a number of reasons. One is that it is my current favourite record from my most current favourite (non-ELO related) band. Another is because I just can’t stop playing it. It solves so many of life’s problems – everything seems better after a blast of cheery bluesy-rock and a couple of poignant melodic ballads.
A third reason is because I hope it will show another side to Mr Rod Stewart - everything you’ve learned about Rod Stewart in the last 40 years, all the prejudices it’s easy to have for the veteran rocker, are worth forgetting while listening to this LP. Another final reason is because I thought you all might enjoy it – there’s nothing too heavy or intellectual on it, just good old knees-up rousing rock and roll.
If you know the LP all the better but if you don’t I hope it opens up a whole new world to you – the world of the Faces: Leave your cares at the door and enter an imaginary late-light bar, grab a drink and sit down or even dance to the band.
I hope you enjoy this album as much as I do.
Musicians -
Rod Stewart – Vocals Ronnie Lane – Bass, acoustic guitar, percussion, vocals Ronnie Wood – Lead, slide, acoustic and pedal steel guitars, backing vocals on “Too Bad”, harmonica. Ian McLagan – Piano, organ, backing vocals on “Too Bad”. Kenney Jones – Drums, percussion.
Harry Fowler – Steel drums on “That’s All You Need”
Producers – The Faces and Glyn Johns Engineer - Glyn Johns
As a bonus, here's visuals: the Faces in concert for the BBC -
Only two of the album's tracks feature here but they are well worth seeing played live.
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Post by queenofthehours on Nov 22, 2015 16:20:45 GMT
Miss Judy's Farm – This is the band at its greatest. A terrific opener, one of the best I know. Ronnie Wood is perfect; he knows how to rock close to the edge without going over the top and keeps the lead guitar interesting. Kenney’s drumming is flawless and just melts into the song effortlessly while still giving power - like magic. And then there’s Ronnie Lane’s bass – my favourite thing on a track full of good things, you only have to hear it to know why. I play this song very loud for that reason alone. Let’s not forget Rod – listening to him here you instantly pardon him all the inferior stuff he’s put our in later years. This track sounds even better on the BBC concert version. The most special part for me is the section with only guitar and bass towards the end, the keys join in and then the drums as the music speeds up.
You're So Rude – A Ronnie Lane vocal. The mix of Rod and Ronnie singing on this LP makes this album extra special. This song is typical Ron so I can’t even imagine Rod trying to sing it. According to the Faces biography this track is based on a real life experience and Ronnie Lane really did have an Auntie Renee. There is a bit of a Small Faces-style sense of humour here in the track’s lightness. McLagan really shines on piano and organ while Jones’s drums again are simply effective because they are so powerful yet still melt into the music. Great harmonica from Wood.
Love Lives Here – A very beautiful song. One of the most beautiful recorded by the Faces and one of the most lovely songs I know. Rod really sings this well, you can forgive him anything after hearing him here. McLagan’s work is just as special, he only plays enough notes to add emphasis to the song, never overdoing it. Given the right circumstances it would be easy to shed a tear to this song. Jones and Lane stay at the back holding up the track beautifully while Wood’s guitar is so modest yet so important to the spirit of the song.
Last Orders Please – The mood changes again to an unmistakable upbeat Ronnie Lane track. This wouldn’t sound out of place played in a comfy bar around the piano with a glass of something nice in your hand as you sing along. In fact McLagan’s piano once again makes its mark here as the main contributor to the spirit.
Stay with Me – Everyone must know this. I love how the intro starts out fast and then slows down. Also I love how this tune sounds as if it’s going to all fall apart but of course it never does. Again it’s the rhythm section that carries the song – loud and powerful but never taking over – but it is probably Rod who is the star here. It’s a shame he never stuck to this, what he’s best at, great bluesy rockers. Personally I love the bass from Lane which feels like it’s holding the whole song up from below. One of the greatest song endings in rock too, it makes you wonder how the second half could possibly match up to the first.
Debris – Ronnie Lane’s Faces masterpiece. No track is more special on the album. Another song based on real life, this is about his father with whom young Ronnie used to visit the “Sunday morning market” as a boy and then he would wait for father’s return “at the top of the stairs”. His father was a bus driver (“trouble at the depot”). A really lovely song utterly typical of Lane. No instrument intrudes or stands out here to take your mind from the words and sentiment of the song. In fact it’s the soul of the song that really carries the track. There are some really effective backing vocals from Rod. It’s amazing how good a backing vocalist he is. Wood must get a mention here for been so discreet which is unusual for a lead guitarist especially a rock and roller destined for the Stones.
Memphis, Tennessee – I’m never usually keen on old rock and roll numbers as covered by classic rock bands (‘Roll Over Beethoven’ will never be in my list of top ELO tracks) but this one is a gem. It sounds both like and unlike the original, a real bluesy number you can imagine playing down the pub with your mates. The slide guitar is something special. A laid back rocky track the Faces really make their own.
Too Bad – Another great Stewart/Wood rocker with naturally strong, driving drums from Kenney. McLagan also stands out here – you need to be an expert to get those loose bar-room sounding keys to be that perfect. The Faces certainly out rock the Stones – Rod had more humour and looseness than Mick and the whole band did not take itself nearly as seriously. That's All You Need – A great way to end with a strong blast of bluesy guitar from Wood. After hearing Kenney’s powerful and unobtrusive drums it’s surprising he’s not more highly praised as a drummer. This great track sounds like a closer without actually making you wish it was or by winding you down. I love how here, and in the other tracks too, McLagan fills the gaps so effortlessly with organ. Steel drums are a bonus – you wouldn’t think they’d fit!
This is one of my most favourite albums now; I don’t know why I managed to neglect the Faces for so long. Maybe I thought them only second to the Small Faces or maybe I felt that I couldn’t love Rod Stewart.
The mix of voices – Ronnie and Rod – here helps make the LP special, keeping it varied and interesting. Rod is rather extraordinary, he gives it all he’s got and deserves to be thought of as one of music’s best vocalists as well as songwriters. Anyone who picks on him should hear this album before they do so! Ronnie is more reflective. His songs are a nice balance to the hard, rocky numbers and his bass parts are certainly worth listing for. The great production really brings out the bass’s tone. It reminds me of Paul McCartney and I think Ronnie Lane deserves more credit as a player. Ronnie Wood on guitar should be applauded for providing some of the best work on that instrument – always effective, never over the top. The same can be said about McLagan. All his keyboard work here is never less than perfect. Even Kenney shows what a powerful musician he is, keeping his parts exciting but allowing them to melt into the rest of the band without intrusion. Each musician here contributes and not one oversteps the mark into “showing off”. The album feels like a never-ending party record with a few measured songs for slow dancing, one that you can join in and feel part of. Like a group of friends. This gives it quite a Wilburyish – type spirit, joyous, almost sloppy-sounding, as if the whole thing is going to fall apart at any moment. It sounds just like a bunch of guys playing music and having fun in a bar. Upbeat, fun and sad, a combination of blues and music-hall not many albums have such an effective mix and still sound so solid. An album made for drinking and dancing.
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Post by Chippa on Nov 22, 2015 17:27:48 GMT
"Miss Judy's Farm" - Somewhat similar to "Every Picture Tells A Story", especially the rousing ending. "You're So Rude"- Ronnie Lane wasn't the singer that Rod Stewart is, but he still had a distinctive voice. I like this one. "Love Lives Here" - Stones-like ballad. Would have fit in well on "Exile On Main Street". "Last Orders Please" - Always liked this one, even though I was never quite sure who it was. Remember George Harrison's "Cloud 9" b-side track "Zig Zag"? It sort of has the feel to it. "Stay with Me"- Probably the band's best known song. Nearly flawless rocker. Infectious and hard to not love. One of Rod's best moments, for sure. "Debris" - Sort of like the offspring of The Stones' "Wild Horses, the Allman Bros. "Melissa", and Dylan's "You're A Big Girl Now". "Memphis, Tennessee" - Nice take on the Chuck Berry classic. Great guitar, here. "Too Bad"-Another rollicking stomper. The band is so tight on this track. Love Ian McLagan's piano work on this. "That's All You Need" - Killer slide guitar, courtesy of the great Ron Wood. The song itself isn't great, but the guitar saves it, and keeps things interesting. Overall, I'm giving this 7.5/10. Great choice, queenofthehours
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Post by jrmugz on Nov 22, 2015 18:25:36 GMT
Awesome qoth, I never did play a Faces album, so will be very cool to hear the full glory of Ron Wood and Rod Stewart in their early days. Someone was sending me some Sam Cooke stuff on facebook today, and I was remembering how Rod Stewart was saying Sam Cooke was his big inspiration and there would be no Rod Stewart if there was no Sam Cooke. Will be interesting if I can detect the influence here in some of the earlier stuff. Aiming to post a review before Turkey Day, in an ideal world. Jim
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Post by jrmugz on Nov 25, 2015 20:48:32 GMT
Been playing it, sounding pretty decent so far. The Stewart-Wood stuff definitely sounding stronger than the Lane stuff thus far. Will review in the next couple days probably.
Jim
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Post by 88keys on Nov 27, 2015 22:40:25 GMT
I'll try to get to it. Been busy with holiday stuff.
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Post by Helmut83 on Nov 28, 2015 6:43:09 GMT
- Miss Judy’s farm: good rocker, powerful, particularly because of those bass notes that shake the floor if you give it a loud volume. Untidy in a good sense, kind of like some Rolling Stones stuff. Nice guitar work on the powerchords, very rocky. The end loses it a bit but it’s far from enough to tarnish a very good song.
- You’re so rude: nice organ work on this one. Ron Wood must have had an important weight on this band because the songs sounds, again, very Rolling Stones. The bass is incredibly loud as well, let’s see if it carries throughout the whole album. Those solos in which 2 or 3 instruments –in this case keyboards and guitar- step over each other are such a trademark of Richards-Wood, I never though I’d listen to that kind of stuff other than by the Stones, but here you have one of those. Nice intervention if the harmonica there (apparently by Wood?) as well. Nice rocking song.
- Love lives here: I’m getting so monothematic with the Stones comparison, I know, but I can’t help it, song after song. This one sounds somewhat to “Wild Horses”. Nice rock ballad, with an elegant guitar work and a very active bassline. The organ provides a nice, discreet accompaniment. It comes in well to provide a bit of calm among so much rock n roll..
- Last orders please: some jazz influences on this one. I loved the piano solo, but I would have asked the harmonica to remain silent during it. It lacks a stronger melody IMO. Not unpleasant, but not outstanding either.
- Stay with me: very solid rocker, and quite original (it’s basically 3 major chords but their combination isn’t as frequent as you would expect, as it’s not the classic I-IV-V). Nice aggressive work (and sound) from the backing guitars here, and good solo from the lead one as well. Mr. Stewart kills it on the vocals.
- Debris: ok, I’ll cut it out with the Stones references… Very good ballad, really pleasant. As a general rule I’m not a fan of ballads but when they steal so many elements from rock n roll I’m all in for them. You’ve got to love the guitars and the bass on this one. Also, the drums work might get overlooked on this album but on this particular song it deserves a special mention. Those fills that start a huge while before the breakdown add a lot to the song in terms of atmosphere. The melody flows in square lines, but very convincing. Really good one.
- Memphis Tenessee: slow, draggy version of Chuck Berry’s classic. I don’t see much the point in this, it adds nothing to the original and it isn't as good if you asked me. I like the vocals but the instrumentation is too messy, it never grabs your attention and takes it somewhere, instead it just bounces irrelevantly in the background throughout the whole song. So far the worst one.
- Too bad: back to their own original stuff thankfully, they seem to be much better at that. Another pretty solid rocker, very much with a similar formula to the previous ones, and with a similar outcome in terms of effectiveness: it approves. A slower, softer middle eight gives it an atmospheric break (and is welcome to difference it a bit more from the other rockers of the album) only to crack again into rock n roll with great strength. On the cons side, I would have liked a certain instrument (the piano for example) to take the ball at some point and start a solo, at times it gets tiring the fact that during instrumental breaks all instruments are mixed up doing nothing really definite.
- That’s all you need: wow, what an intro with that distorted slide guitar wailing and Stewart singing some verses over it! Quite a weird song IMO, like made with parts from different songs as if it were a medley, but at the same time probably the most original of the album. The drummer gets his chance to shine here. Nice as an album closer, worth listening.
As an overall conclusion, I liked this album. It has the seal of the good old late ‘60s and early ‘70s rocking bands, with that production sound in which you could distinguish clearly each instrument from the other (as opposed to todays’ typical production, in which everything seems to merge into a huge layer of multiple sounds in which you couldn’t tell if there’s 3 guitars or 48). Their formulas are quite clear and not too pretentious, just rock n roll and a few ballads, and I must say I enjoy this kind of stuff. Then all of the guys seemed to be good at their instrument. Maybe they lacked some better, more well-shaped melodies, as well as instruments clearly taking the lead in the solos, but the groove and the energy were always there and that made up for it.
And, again, I couldn’t help but finding most of it very Rolling Stones, but that may be due to my ignorance. Probably by the point this album came out the Stones didn’t have that characteristic sound and the Faces were really original with it, then when Ron Wood went to the Stones he took it with him, I don’t know…
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Post by jrmugz on Nov 28, 2015 17:00:55 GMT
OK, qoth, here is my review of The Faces "A Nod is as Good as a Wink, ... to a Blind Horse" CD. 01. "Miss Judy's Farm" - Guess what Rod and Ron do best, write good straightforward rockers. Something memorable catchy about the way "Miss Judaaay" is sung. Really love the groove they get going on it for the last quarter or so of the song. 02. "You're So Rude" - Pretty decent rocky tune, got better with repeated plays. 03. "Love Lives Here" - Nice bluesy nostalgic song. 04. "Last Orders Please" - Like the country bluesy feel to this one, almost kinda stonesy "Let it Bleed" style. 05. "Stay with Me" - Classic fun rocker, seems like they needed to exploit the awesome keyboard riff a few more times, not just twice; but great classic song eithe way. 06. "Debris" - Best Lane song yet, this one sounds really good. Was ready for them to sing "Wild horses couldn't drag me away. ..." 07. "Memphis, Tennessee" (Berry) - A very cool unique take on a Chuck Berry classic. One of the better Chuck Berry cover songs I've heard. 08. "Too Bad" - Really enjoy the harmonizing towards the end of this decent rocker. 09. "That's All You Need" - Really love the Zep rhythm riffing in this one, just like the rhythm in the last part of "Miss Judy's Farm" Star Rating: 4 out of 5 Prime Cuts: "Love Lives Here", "Stay With Me", "Debris", "Memphis, Tennessee", "That's All You Need" Bottom Line: Dated soudning rock and roll, that stands the test of time just fine! (If that makes any sense.) Thanks so much for sharing qoth, really enjoyed this one and hearing a full Faces album, will have to check out more of them and Small Faces. I know I'll be playing this one on the treadmill more, just like I always go back to other CDs of the week to play them too. Will mark you down in your respective order for next year when I get around to making the CD of the Week thread for next year. Jim
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Post by jrmugz on Nov 28, 2015 18:10:23 GMT
- Love lives here: I’m getting so monothematic with the Stones comparison... Yeah, I had the same sense of the Stones when playing it, though the last song seemed very Zep-like, with the very cool rhythm riffing. Jim
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Post by jrmugz on Nov 28, 2015 18:15:03 GMT
... The mix of voices – Ronnie and Rod – here helps make the LP special, keeping it varied and interesting. Rod is rather extraordinary, he gives it all he’s got and deserves to be thought of as one of music’s best vocalists as well as songwriters. Anyone who picks on him should hear this album before they do so! Ronnie is more reflective. His songs are a nice balance to the hard, rocky numbers and his bass parts are certainly worth listing for. The great production really brings out the bass’s tone. It reminds me of Paul McCartney and I think Ronnie Lane deserves more credit as a player. Ronnie Wood on guitar should be applauded for providing some of the best work on that instrument – always effective, never over the top. The same can be said about McLagan. All his keyboard work here is never less than perfect. Even Kenney shows what a powerful musician he is, keeping his parts exciting but allowing them to melt into the rest of the band without intrusion. Each musician here contributes and not one oversteps the mark into “showing off”. The album feels like a never-ending party record with a few measured songs for slow dancing, one that you can join in and feel part of. Like a group of friends. This gives it quite a Wilburyish – type spirit, joyous, almost sloppy-sounding, as if the whole thing is going to fall apart at any moment. It sounds just like a bunch of guys playing music and having fun in a bar. Upbeat, fun and sad, a combination of blues and music-hall not many albums have such an effective mix and still sound so solid. An album made for drinking and dancing.
Wow really enjoyed your review and thoughts, qoth, you seem to really capture the whole sentiment really good in these last two paragraphs. I agree that the Wood-Stewart vocals, while not Simon and Garfunkel, still are a special, and I really liked them on "Debris" too. Yeah, definitely the never-ending party feel for sure. Jim
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Post by jrmugz on Nov 28, 2015 18:23:36 GMT
A Nod is as Good as a Wink…to a Blind Horse - The Faces (1971)
As a bonus, here's visuals: the Faces in concert for the BBC -
Only two of the album's tracks feature here but they are well worth seeing played live. Watched a lot of this, really good stuff; liked the "Maybe I'm Amazed" and Ike/Tina Turner cover songs they did. Jim
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Post by unomusette on Nov 28, 2015 21:19:07 GMT
Well it's a great title for an album and it kind of lets you know it's not going to be at all pretentious. There's always room for some straightforward, fun rock round here so I'm looking forward to hearing this, despite my medium-sized aversion to Rod Stewart generally. This Youtube version is so atmospheric too, as you hear the needle going onto the vinyl, remember those days? Sigh. Miss Judy's Farm - love the dirty guitar sound on this, and the bit where it goes back to just the guitar then the other elements come back in and the whole thing speeds up. Classy. You're So Rude - Very Rolling Stones type of a song sound-wise, and how nice to hear that Rod didn't hog all the vocals on this album. Good range of instruments here too, and each one is well defined. Congrats to the producer, I like it. Love Lives Here - Reminds me of the Stones song "Angie" as it kicks off. Rod's voice is shown off well here, as queenofthehours says in her introduction you can't deny the quality there. You can also see the influence it has on his later ballads. Last Orders Please - Cheerful pub rock, nodding happily along here. Can't find fault at all really, it's not outstanding but I don't think it's trying to be. Stay with Me - A staple on Radio 2, I'm very familiar with this one. Fab guitar sound again and lots of supporting instruments making up a nice meaty song. Great extended outro too. The only negative for me is the lyrics, I like to imagine Rita giving him a good jabbing with those red fingernails and a whack round the head with her handbag. Smug git. Debris - I'm not mad on the keyboard sound in this but it's a nice laid back song which doesn't try to force itself on you. The sort of song to gaze into the distance and think peaceful thoughts to. Memphis, Tennessee - An unusual song for a cover but they've given it their trademark stamp. Too Bad - I like the way the piano comes in via one ear and the guitar via the other, it grabs your interest right away. The guitar never seems to be still in it either, it's all over the place almost like a solo right throughout. The more it goes on the more I like it, probably my favourite track. That's All You Need - Much meatier guitar intro and some tasty slide action. It suits Rod's voice down to ground too. Cheeky bit of steel drums at the end, great outro altogether. Another goodie. The things I like about this album are the great full sound with lots of instruments which are well defined, the sharing of lead vocals and songwriting and the general good time vibe. They sound like they really enjoyed themselves making it and they always looked that way whenever I've seen footage of them performing. Biggest stand out element is the guitar work by Ronnie Wood, he wrings all sorts of interesting sounds out of it where other guitarists might have settled for a lot less. I've not noticed that in his work with the Stones but then he's not the star turn there. I'd give this 8 out of 10, great choice queenofthehours !
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Post by Deleted on Nov 29, 2015 2:28:14 GMT
I wasn't all that aware of The Faces, although I have enjoyed Rod Stewart's work throughout the years. To me this album sounds more like The Rolling Stones than anything Rod ever did during his solo career. But I guess with Ron Wood being there. that's obviously going to be the case.
My favorites on this album(that being the ones I listened to more than once)are Too Bad, Debris, and the awesome Stay With Me. I really hated their version of Chuck Berry's Memphis Tennessee, though. Some songs just shouldn't be touched!
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Post by queenofthehours on Nov 30, 2015 19:47:29 GMT
Well, I must say I didn't expect so many Rolling Stones comments! Maybe I should, after all The Faces are very similar in many respects - all bluesy, loose rock and roll and both bands share Ian McLagan and Ron Wood as well. Maybe I thought The Faces sound was more singular, not as "Stones-y" as the Stones but it's heartening to know they have an engaging enough sound that comparisons can be made. Surely it's an honour to be judged alongside them. I'm glad 'Debris' was received well as it's my favourite - even though people heard the Stones in it! I choose to think this is a good thing; it proves Ronnie Lane really is as classic a songwriter as the writers of 'Wild Horses'. I'm also pleasantly surprised at how liked 'You're So Rude' is. As jrmugz says it gets better with repeated plays. At first I was so-so but the more I played the album the more I liked it. It's special because it shows Ronnie Lane's heritage with the Small Faces in it's music-hall light-heartedness and because, as Chippa points out, it shows off his distinctive voice in contrast to Rod's. I was surprised at the popularity of 'Too Bad' as it wasn't a track I played close attention to, coming as it does after the emotional high point of 'Debris' and being close to the end of the LP. 'Memphis' has some mixed reviews which I agree with because I'm mixed about it too. I wouldn't play it separate from the album but in the context of the record it fits well, as jrmugz says, it's one of the better covers, I think purely because, just as unomusette points out - it has the Face's trademark stamp. Miss Judy’s farm: good rocker, powerful, particularly because of those bass notes that shake the floor if you give it a loud volume. Untidy in a good sense, kind of like some Rolling Stones stuff. Yes! That floor-shaking bass. A good bass can make a good song great if it means you turn it up. "Untidy in a good sense" - perfectly sums up the album. Should be on the cover along with "not too pretentious, just rock n roll and a few ballads" . - Stay with me: Nice aggressive work (and sound) from the backing guitars here, and good solo from the lead one as well. Mr. Stewart kills it on the vocals. "Aggressive" - that's one of the words that eluded me when writing my review, that's exactly the way I hear the guitar here and throughout the album. I think it makes the album strong. I'm glad Ron Wood has had some more good comments:
Too Bad - The guitar never seems to be still in it either, it's all over the place almost like a solo right throughout. I agree with this. It takes a great player to move around so much. It's much easier to stay still and only move for a traditional solo. - Debris: The melody flows in square lines, but very convincing. Really good one. Square lines? You'll have to explain that to me! But it's one of my favourite descriptions.
"Last Orders Please" - Remember George Harrison's "Cloud 9" b-side track "Zig Zag"? It sort of has the feel to it. Funny you mention George Harrison. In my review I said the album was Wilbury-ish but not only because of the spirit, because Ronnie's style makes me think of George. Bottom Line: Dated soudning rock and roll, that stands the test of time just fine! (If that makes any sense.) Yes it makes perfect sense. I love that description! That's exactly how I hear the album - and I think it's the magic ingredient in the record. Did you hear any Sam Cooke influence in Rod as you mentioned?
Thanks for all the reviews this week, I really enjoyed reading them and I'm glad you enjoyed listening to the album .
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Post by Helmut83 on Dec 1, 2015 17:31:56 GMT
- Debris: The melody flows in square lines, but very convincing. Really good one. Square lines? You'll have to explain that to me! But it's one of my favourite descriptions. Well, don't think that's a technical definition, it's more a colloquial way I found of expressing it. I meant lines of verses which: 1) come in sets of four; 2) are approximately the same measure in syllables; 3) are sung each after a regular period of time -it takes the same amount of time for the singer to start singing each line- and 4) are sung with a similar or a counterpoint melody. I left you on the debris At the Sunday morning market You were sorting through the odds and ends You was looking for a bargainWell, if you are minucious these verses aren't 100% square because the 3rd line has a couple more syllables that the rest added at the end, but except for that small detail the point is still there. I hope I have explained my idea correctly, I'm sure there's a more technical way of saying it in both poetry and songwriting but I ignore it.
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